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| Name: _________________________ | Period: ___________________ |
This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.
Multiple Choice Questions
1. What director/playwright was rooted in the cabaret?
(a) Bertolt Brecht.
(b) Peter Brook.
(c) Samuel Beckett.
(d) Meyerhold.
2. What play was conceived by Peter Weiss, and based on many ideals of Brecht?
(a) The Investigation.
(b) Marat/Sade.
(c) Ubu Roi.
(d) The Screens.
3. Who created the method termed "alienation" in the theatre?
(a) Beckett.
(b) Brook.
(c) Brecht.
(d) Cunningham.
4. In performance, what is the relationship the author establishes?
(a) Actor/director/audience.
(b) Audience/director/actor.
(c) Actor/subject/audience.
(d) Director/actor/audience.
5. Of whom does the author write, "never just made a slice of life--he was a doctor who with infinite gentleness and care took thousands and thousands of fine layers off life."
(a) Shakespeare.
(b) Brecht.
(c) Beckett.
(d) Chekhov.
Short Answer Questions
1. Of the two British actors the author compares in "The Immediate Theatre," which is intuition-based?
2. The author writes of his book, "if anyone were to try to use it as a handbook, then I can definitely warn him--there are no _______."
3. The author writes, "What has not been appreciated sufficiently is that the freedom of movement of the ____ theatre was not only a matter of scenery."
4. The aim of acting exercises and improvisation in rehearsals is always the same, according to the actor, which is what?
5. For which Shakespearean play is it true that "as long as scholars could not decide whether this play was a comedy or not, it never got played"?
Short Essay Questions
1. How does the author describe the difference between staging in "rough" theatre versus traditional theatre?
2. How does the author approach form and content between the actor and director?
3. How does the author describe the difference between "Rough Theatre" and "Holy Theatre"?
4. What is the rough experience which comes from Marat/Sade?
5. How does the author view "pre-planning" in approaching a rehearsal process?
6. What does the author view as the "ideal" training for an actor?
7. What is the author's presumed opinion of the works and style of Brecht? How is Brecht similar to Shakespeare?
8. What is the common thread between human existence and approach to process in the theatre?
9. How does the author approach the concept of liberation with Shakespeare and Brecht?
10. How does the author view Method acting?
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This section contains 892 words (approx. 3 pages at 300 words per page) |
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